Hardcore punk (often abbreviated to hardcore) is a punk rock music genre and subculture that originated in the late 1970s. It is generally faster, harder, and more aggressive than other forms of punk rock.[8] Its roots can be traced to earlier punk scenes in San Francisco and Southern California which arose as a reaction against the still predominant hippie cultural climate of the time. It was also inspired by New York punk rock and early proto-punk.[7] New York punk had a harder-edged sound than its San Francisco counterpart, featuring anti-art expressions of masculine anger, energy and subversive humor. Hardcore punk generally disavows commercialism, the established music industry and "anything similar to the characteristics of mainstream rock"[9] and often addresses social and political topics with "confrontational, politically-charged lyrics".[10]

Steven Blush states that the Vancouver-based band D.O.A.'s 1981 album, Hardcore '81 "...was where the genre got its name."[12] This album also helped to make people aware of the term "hardcore".[13][14] Konstantin Butz states that while the origin of the expression "hardcore" "...cannot be ascribed to a specific place or time", the term is "...usually associated with the further evolution of California's L.A. Punk Rock scene", which included young skateboarders.[15] A September 1981 article by Tim Sommer shows the author applying the term to the "15 or so" punk bands gigging around the city at that time, which he considered a belated development relative to Los Angeles, San Francisco, and Washington D.C.[16] Hardcore historian Steven Blush said that the term "hardcore" is also a reference to the sense of being "fed up" with the existing punk and new wave music.[17] Blush also states that the term refers to "an extreme: the absolute most Punk."[18]

Kelefa Sanneh states that the term "hardcore" referred to an attitude of "turning inwards" towards the scene and "ignoring broader society", all with the goal of achieving a sense of "shared purpose" and being part of a community.[19] Sanneh cites Agnostic Front's band member selection approach as an example of hardcore's emphasis on "scene citizenship"; prospective members of the band were chosen based on being part of the local hardcore scene and being regularly in the moshing pit at shows, rather than based on a musical audition.[19]

An article in Drowned in Sound argues that 1980s-era "hardcore is the true spirit of punk", because "after all the poseurs and fashionistas fucked off to the next trend of skinny pink ties with New Romantic haircuts, singing wimpy lyrics", the punk scene consisted only of people "completely dedicated to the DIY ethics".[20] One definition of the genre is "a form of exceptionally harsh punk rock."[21] Like the Oi! subgenre of the UK, hardcore punk can be considered an internal music reaction. Hardcore has been called a "...faster, meaner genre" of punk that was also a "stern refutation" of punk rock; a "rebellion against a rebellion".[19] Steven Blush states that even though punk rock had an "unruly edge", "Reagan-era kids demanded something even more primal and immediate, with speed and aggression as the starting point."[12]

According to one writer, "distressed by the 'art'ificiality [sic] of much post-punk and the emasculated sellouts of new wave, hardcore sought to strengthen its core punk principles."[1] Lacking the art-school grace of post-punk, hardcore punk "favor[ed] low key visual aesthetic over extravagance and breaking with original punk rock song patterns."[22] Hardcore "...disavows...synthetic technological effects...[and] the recording industry."[23] Around 1980, as punk became "moribund" and radio-friendly, angry "shorn-headed suburban teenagers" discarded new wave's artistic statements and pop music influences and created a new genre, hardcore, for which there were no places to play, which forced the performers to create independent and DIY venues.[24] Music writer Barney Hoskyns compared punk rock with hardcore and stated that hardcore was "younger, faster and angrier, full of the pent up rage of dysfunctional Orange County [(Los Angeles)] adolescents" who were sick of their life in a "bland Republican" area.[15] While the hardcore scene was mostly young white males, both onstage and in the audience,[25][26] there are notable exceptions, such as the all-African-American band Bad Brains and notable women such as Crass singer Joy de Vivre and Black Flag's second bassist, Kira Roessler.

Steven Blush states that Minor Threat's Ian MacKaye "set in motion a die-hard mindset that begat almost everything we now call Hardcore" with his "virulent anti-[music] industry, anti-star, pro-scene exhortations."[12]
One of the important philosophies in the hardcore scene is authenticity. The pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Joe Keithley, the vocalist of D.O.A. said in an interview: "For every person sporting an anarchy symbol without understanding it there’s an older punk who thinks they’re a poseur."[27]

In the vein of earlier punk rock, most hardcore punk bands have followed the traditional singer/guitar/bass/drum format. The songwriting has more emphasis on rhythm rather than melody. Critic Steven Blush writes "The Sex Pistols were still rock'n'roll...like the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form."[28] According to AllMusic, the overall blueprint for hardcore was playing louder, harder and faster.[29] Hardcore was a reaction to the "cosmopolitan art-school" style of new wave music.[30] Hardcore "eschew[ed] nuance, technique, [and] the avant-garde", and instead emphasized "speed and rhythmic intensity" using unpredictable song forms and abrupt tempo changes.[30]

The impact of powerful volume is important in hardcore. Noisey magazine describes one hardcore band as "...an all-encompassing, full-volume assault" in which "...[e]very instrument sounds like it's competing for the most power and highest volume."[31] Scott Wilson states that the hardcore of the Bad Brains emphasized two elements: "off-the-charts" loudness which reached a level of threatening, powerful "uncompromising noise" and rhythm, in place of the typically focused-on elements in mainstream rock music, harmony and pitch (i.e., melody).[32]

Hardcore vocalists often shout,[29]scream or chant along with the music, using "vocal intensity"[23] and an abrasive tone.[30] The shouting of hardcore vocalists is often accompanied by audience members who are singing along, making the hardcore vocalist like the "leader of a mob".[23] Steven Blush describes one early Minor Threat show where the crowd was singing the lyrics so loud they could be heard over the PA system.[33] Hardcore vocal lines are often based on minor scales [34] and songs may include shouted background vocals from the other band members. Hardcore lyrics expressed the "frustration and political disillusionment" of youth who were against 1980s-era affluence, consumerism, greed, Reagan politics and authority.[30] The polarizing socio-political messages in hardcore lyrics (and outrageous on-stage behaviour) meant that the genre garnered no mainstream popularity.[30]

In hardcore, guitarists frequently play fast power chords with a heavily distorted and amplified tone, creating what has been called a "buzzsaw" sound.[35] Guitar parts can sometimes be complex, technically versatile, and rhythmically challenging.[36] Hardcore guitarists use some approaches that are similar to their thrash counterparts: "...very high output pickups", "lots of upper midrange", "a full, bass-heavy" tone and the use of both guitar amp distortion and a "Tube Screamer or similar overdrive pedal", but without speaker distortion.[37] Guitar melody lines usually use the same minor scales used by vocalists (although some solos use pentatonic scales).[36] Hardcore guitarists sometimes play solos, octave leads and grooves, as well as tapping into the various feedback and harmonic noises available to them. There are generally fewer guitar solos in hardcore than in mainstream rock, because solos were viewed as representing the "excess and superficiality" of mainstream commercial rock.[30]

Hardcore bassists use varied rhythms in their basslines, ranging from longer held notes (whole notes and half notes) to quarter notes, to rapid eighth note or sixteenth note runs. To play rapid bass lines that would be hard to play with the fingers, some bassists use a pick.[36] Some bassists play fuzz bass by overdriving their bass tone.[38]

Hardcore drumming, with the drummer hitting the drums hard, has been called the "engine" and most essential element of the genre's aggressive sound of "unrelenting anger".[39] Two other key elements for hardcore drummers are playing "tight" with the other musicians, especially the bassist (this does not mean metronomic time; indeed coordinated tempo shifts are used in many important hardcore albums) and the drummer should have listened to a lot of hardcore, so that she or he can understand the "raw emotions" it expresses.[39]Lucky Lehrer, the drummer and co-founder of the Circle Jerks in 1979, was an early developer of hardcore drumming; he has been called the "Godfather of hardcore drumming" and Flipside zine calls him the best punk drummer.[40] According to Tobias Hurwitz, '[h]ardcore drumming falls somewhere between the straight-ahead rock styles of old-school punk and the frantic, warp-speed bashing of thrash."[41] Some hardcore punk drummers play fast D beat one moment and then drop tempo into elaborate musical breakdowns in the next. Drummers typically play eighth notes on the cymbals, because at the tempos used in hardcore it would be difficult to play a smaller subdivision of the beat.[36]

Hardcore punk lyrics often express anti-establishment, anti-militarist, anti-authoritarian, anti-violence, and pro-environmentalist sentiments, in addition to other typically left-wing, anarchist, or egalitarian political views. During the 1980s, the subculture often rejected what was perceived to be "yuppie" materialism and interventionist American foreign policy.[42] Numerous hardcore punk bands have taken far left political stances such as anarchism or other varieties of socialism and in the 1980s expressed opposition to political leaders such as then US president Ronald Reagan and British prime minister Margaret Thatcher. Reagan's economic policies, sometimes dubbed "Reaganomics", and social conservatism were common subjects for criticism by hardcore bands of the time.[43][44]Jimmy Gestapo of Murphy's Law, however, endorsed Reagan and even went as far to call then former-president Jimmy Carter a "pussy" in a 1986 New York Magazine cover story.[45] Shortly after Reagan's death in 2004, the Maximumrocknroll radio show aired an episode composed of anti-Reagan songs by early hardcore punk bands.[46]

Certain hardcore punk bands have conveyed messages sometimes deemed "politically incorrect" by placing offensive content in their lyrics and relying on stage antics to shock listeners and people in their audience. Boston band the F.U.'s generated controversy with their 1983 album, "My America", whose lyrics contained what appeared to be conservative and patriotic views. Its messages were sometimes taken literally, when they were actually intended as a parody of conservative bands.[47] Another act from Massachusetts, Vile, were known to insult women, minorities and homosexuals in their lyrics and would even go as far as putting their albums on the windshields of people's cars.[48] On the other hand, Tim Yohannan and the influential punk rock fanzine Maximumrocknroll were criticized by some punks for acting as the "politically correct scene police"[49] and having what was perceived to be "a very narrow definition of what fits into Punk" and apparently being "authoritarian and trying to dominate the scene" with their views.[50]

Many North American hardcore punk fans adopted a dressed-down style of T-shirts, jeans, combat boots or sneakers and crewcut-style haircuts. Women in the hardcore scene typically wore army pants, band T-shirts and hooded sweatshirts.[60] The clothing style was a reflection of hardcore ideology, which included dissatisfaction with suburban America and the hypocrisy of American culture. It was essentially deconstruction of American fashion staples—ripped jeans, holey T-shirts, torn stockings for women, and work boots.[61] The style of the 1980s hardcore scene contrasted with the more provocative fashion styles of late 1970s punk rockers (elaborate hairdos, torn clothes, patches, safety pins, studs, spikes, etc.).

Siri C. Brockmeier writes that "hardcore kids do not look like punks", since hardcore scene members wore basic clothing and short haircuts, in contrast to the "embellished leather jackets and pants" worn in the punk scene.[62] Lauraine Leblanc, however, claims that the standard hardcore punk clothing and styles included torn jeans, leather jackets, spiked armbands and dog collars and mohawk hairstyles and DIY ornamentation of clothes with studs, painted band names, political statements, and patches.[63] Tiffini A. Travis and Perry Hardy describe the look that was common in the San Francisco hardcore scene as consisting of biker-style leather jackets, chains, studded wristbands, multiple piercings, painted or tattooed statements (e.g., an anarchy symbol) and hairstyles ranging from military-style haircuts dyed black or blonde to mohawks and shaved heads.[64]

Circle Jerks frontman Keith Morris wrote: "the ... punk scene was basically based on English fashion. But we had nothing to do with that. Black Flag and the Circle Jerks were so far from that. We looked like the kid who worked at the gas station or sub. shop."[65]Henry Rollins stated that for him, getting dressed up meant putting on a black shirt and some dark pants; Rollins viewed an interest in fashion as being a distraction.[66]Jimmy Gestapo from Murphy's Law describes his own transition from dressing in a punk style (spiked hair and a bondage belt) to adopting a hardcore style (shaved head and boots) as being based on needing more functional clothing.[60]

In the pre-Internet era, fanzines, commonly called zines, enabled hardcore scene members to learn about bands, clubs, and record labels. Zines typically included reviews of shows and records, interviews with bands, letters, and ads for records and labels. Zines were DIY products, "proudly amateur, usually handmade, and always independent" and in the "’90s, zines were the primary way to stay up on punk and hardcore." They acted as the "blogs, comment sections, and social networks of their day."[67]

In the American Midwest, the zine Touch and Go described the Midwest hardcore scene from 1979 to 1983. We Got Power described the LA scene from 1981 to 1984, and it included show reviews and band interviews with groups including D.O.A., the Misfits, Black Flag, Suicidal Tendencies and the Circle Jerks. My Rules was a photo zine that included photos of hardcore shows from across the US. In Effect, which began in 1988, described the New York City scene.[67] By 1990, Maximum Rocknroll "had become the de facto bible of the scene." Maximum Rocknroll is a thick, monthly, newsprint magazine with subscriptions in many countries all over the world. MRR had a "passionate yet dogmatic view" of what hardcore was supposed to be, while HeartattaCk and Profane Existence were "even more religious about their DIY ethos." HeartattaCk was mainly about emo and post-hardcore. Profane Existence was mostly about crust punk.[67] The Bay Area zine Cometbus "captured an entire dimension of ’90s punk culture that provided necessary roughage compared to the empty calories of mainstream punk’s MTV/Warped Tour narrative."

Other 1990 zines included Gearhead, Slug and Lettuce and Riot Grrrl.[67] In Canada, the zine Standard Issue chronicles the Ottawa hardcore scene. With the arrival of the Internet, some hardcore punk zines became available online. One example is the e-zine chronicling the Australian hardcore scene, RestAssured.

Michael Azerrad states that "[by] 1979 the original punk scene [in Southern California] had almost completely died out." "They were replaced by a bunch of toughs coming in from outlying suburbs who were only beginning to discover punk's speed, power and aggression";"dispensing with all pretension, these kids boiled the music down to its essence, then revved up the tempos...and called the result "hardcore", creating a music that was "younger, faster and angrier, [and] full of...pent-up rage..."[68] Hardcore historian Steven Blush states that for West coasters, the first hardcore record was Out of Vogue by the Santa Ana band Middle Class.[69] The band pioneered a shouted, fast version of punk rock which would shape the hardcore sound that would soon emerge. In terms of impact upon the hardcore scene, Black Flag has been deemed the most influential group. Michael Azerrad, author of Our Band Could Be Your Life, calls Black Flag the "godfathers" of hardcore punk and states that even "...more than the flagship band of American hardcore", they were "...required listening for anyone who was interested in underground music."[70] Blush states that Black Flag defined American hardcore in the same way that the Sex Pistols defined punk.[17] Formed in Hermosa Beach, California by guitarist and lyricistGreg Ginn, they played their first show in December 1977. Originally called Panic, they changed their name to Black Flag in 1978.[71] Black Flag's sound mixed the raw simplicity of the Ramones with atonal guitar solos and frequent tempo shifts.

Whilst popular traditional punk bands such as the Ramones, The Clash, and Sex Pistols were signed to major record labels, the hardcore punk bands were generally not. Black Flag, however, was briefly signed to MCA subsidiary Unicorn Records, but were dropped because an executive considered their music to be "anti-parent".[73] Instead of trying to be courted by the major labels, hardcore bands started their own independent record labels and distributed their records themselves. Ginn started SST Records, which released Black Flag's debut EP Nervous Breakdown in 1979. SST went on to release a number of albums by other hardcore artists, and was described by Azerrad as "easily the most influential and popular underground indie of the Eighties."[70] SST was followed by a number of other successful artist-run labels—including BYO Records (started by Shawn and Mark Stern of Youth Brigade), Epitaph Records (started by Brett Gurewitz of Bad Religion), New Alliance Records (started by the Minutemen's D. Boon)—as well as fan-run labels like Frontier Records and Slash Records.

Bands also funded and organized their own tours. Black Flag's tours in 1980 and 1981 brought them in contact with developing hardcore scenes in many parts of North America, and blazed trails that were followed by other touring bands.[74][75][76] Concerts in the early Los Angeles hardcore scene increasingly became sites of violent battles between police and concertgoers. Another source of violence in LA was tension created by what one writer calls the invasion of "antagonistic suburban poseurs" into hardcore venues.[77] Violence at hardcore concerts was portrayed in episodes of the popular television shows CHiPs and Quincy, M.E.

Shortly after Black Flag debuted in Los Angeles, Dead Kennedys were formed in San Francisco. While the band's early releases were played in a style closer to traditional punk rock, In God We Trust, Inc. (1981) marked a shift into hardcore. Similar to Black Flag and Youth Brigade, Dead Kennedys released their albums on their own label, which in DK's case was Alternative Tentacles. While not as large as the scene in Los Angeles, the San Francisco Bay Area hardcore scene of the 1980s included a number of noteworthy bands, including Crucifix, Flipper, and Whipping Boy.

The first hardcore punk band to form on the east coast of the United States was Washington, D.C.'s Bad Brains. Initially formed in 1977 as a jazz fusion ensemble called Mind Power, and consisting of all African-American members, their early foray into hardcore featured some of the fastest tempos in rock music.[80] The band released its debut single, "Pay to Cum", in 1980, and were influential in establishing the D.C. hardcore scene. Hardcore historian Steven Blush calls the single the first East coast hardcore record.[81]

In the early 1980s, the New York hardcore scene centred around squats and clubhouses.[19] After the squats were closed down, the scene was headquartered in a small after-hours bar, A7, on the lower east side of Manhattan. Later, New York's hardcore scene was centered around the bar CBGB, whose owner, Hilly Kristal, embraced hardcore punk. The Dead Boys, originally from Cleveland but gained popularity in New York played at Hilly's club often and he even managed them. For several years, CBGB held weekly hardcore matinees on Sundays. This stopped in 1990 when violence led Kristal to ban hardcore shows at the club.

Early radio support in New York's surrounding Tri state area came from Pat Duncan, who had hosted live punk and hardcore bands weekly on WFMU since 1979.[91]Bridgeport, Connecticut's WPKN had a radio show featuring hardcore called Capital Radio, hosted by Brad Morrison, beginning in February 1979 and continuing weekly until late 1983. In New York City, Tim Sommer hosted Noise The Show on WNYU.[92] In 1982, Bob Sallese produced The Big Apple Rotten To The Core compilation on S.I.N. Records, featuring The Mob, Ism and four other bands from the early A7 era. The album gained notoriety on the commercial radio station WLIR, and nationally on college radio. The LP was followed by The Big Apple Rotten To The Core, Vol. 2 in 1987 on Raw Power Records.

D.O.A. formed in Vancouver, British Columbia in 1978 and were one of the first bands to refer to its style as "hardcore", with the release of their album Hardcore '81. Other early hardcore bands from British Columbia included Dayglo Abortions, the Subhumans and The Skulls. In 1988, the Dayglo Abortions became the center of national media attention when a police officer instigated a criminal investigation of the band after his daughter brought home a copy of Here Today, Guano Tomorrow. Obscenity charges were laid against the Dayglo Abortion’s record label, Fringe Product, and the label's record store, Record Peddler, but those charges were cleared in 1990.[93][94][95]

The UK anarcho-punk and D-beat band Antisect playing in Brighton in 1985.

In the United Kingdom a fertile hardcore scene took root early on. Referred to under a number of names including "U.K. Hardcore", "UK 82", "second wave punk",[97] "real punk",[98] and "No Future punk",[99] it took the previous punk sound and added the incessant, heavy drumbeats and heavily distorted guitar sound of new wave of British heavy metal bands, especially Motörhead.[100] Formed in 1977 in Stoke-on-Trent, Discharge played a huge role in influencing other European hardcore bands. AllMusic calls the band's sound a "high-speed noise overload" characterized by "ferocious noise blasts."[101] Their style of hardcore punk was coined as D-beat, a term referring to a distinctive drum beat that a number of 1980s imitators of Discharge are associated with.[102] Formed in 1976, the hardcore UK Subs were an early example of street punk which would become very visible throughout the 'Eighties, with its distinctive mohawks, tattoos, studded vests and leather jackets, and clothing adorned with political slogans. The following year saw the emergence of Crass, with their politicised and creative anarcho-punk thrust. Conflict, formed a few years later in '81, were another standard bearer of this sub-genre.

There was a dynamic Italian hardcore punk scene in the 1980s. Inspired by UK bands such as Crass and Discharge, many Italian groups had lyrics that were anti-war and anti-NATO. Groups included Wretched, Raw Power, and Negazione. The Last White Christmas festival, held in Pisa on Dec. 4, 1983, was an important concert for Italian groups (CCM, I Refuse It!, Raw Power, Purid Fever, War Dogs). Sweden developed several influential hardcore bands, including Mob 47 and Anti Cimex, whose music has also inspired many foreign bands. Since the early 1990s, many Swedish groups were D-beat "tribute bands" to groups such as UK's Discharge. A hardcore scene that emerged in Umeå and other northern cities in the 1990s, with bands such as Refused (Umeå) and Raised Fist (Luleå). Finland produced some influential hardcore bands, including Terveet Kädet, one of the first hardcore groups to emerge in the country. In Eastern Europe notable hardcore bands included Hungaria's Galloping Coroners from 1975, Yugoslavia's 1980s-era Niet from Ljubljana, KUD Idijoti from Pula, and KBO!.

In Brazil, the hardcore scene was jump started with the opening of a punk record shop called Punk Rock Discos in São Paulo in 1979. By the early 1980s, the store was bringing records from British bands like Discharge and Disorder as well as Swedish and Finnish hardcore. Around 1981, punk gigs were happening often around São Paulo, where there were already dozens of active bands, mostly playing hardcore punk and similar styles, most importantly Cólera and Inocentes.

In recent years, Muslim hardcore bands have emerged in the US, Canada, Pakistan, and Indonesia. The development of Muslim hardcore has been traced to the impact of a 2010 film Taqwacore, a documentary about the Muslim hardcore scene. Bands include "The Kominas from Boston, the all-girl Secret Trial Five from Toronto, Al Thawra (The Power) from Chicago and even a few bands out in Pakistan and Indonesia."[111]

With the increased popularity of punk rock in the mid-1990s and the 2000s, some hardcore bands signed with major record labels. The first was New York's H2O, who released its album Go (2001) for MCA. Despite an extensive tour and an appearance on Late Night with Conan O'Brien, the album was not commercially successful, and when the label folded, the band and the label parted ways. In 2002, California's AFI signed to DreamWorks Records and changed its sound considerably for its successful major label debut Sing the Sorrow. Chicago's Rise Against were signed by Geffen Records, and three of its releases on the label were certified platinum by the RIAA.[125] Rise Against gradually diminished hardcore elements from their music, culminating with 2008's Appeal to Reason, which lacked the intensity found in their earlier albums.[126][127] Notable independent label Bridge 9 Records have seen several of their artists rise to prominence, including Defeater, Verse and Have Heart, who had a Billboard chart entry with their second album, 'Songs To Scream At The Sun'.[128]

Partly due to developments in digital communications, there has been a rise in interaction between hardcore scenes in different places and subgenres, particularly in Europe. In September 2017, Bandcamp Daily wrote that Fluff Fest, which has been held in Czechia since 2000 and features an international lineup of independent bands ranging in style from crust punk to screamo, "has established itself as the main DIY hardcore punk event in Europe".[134]

D-beat (also known as discore or kängpunk) is a hardcore punk subgenre, developed in the early 1980s by imitators of the band Discharge, after whom the genre is named, as well as a drum beat characteristic of this subgenre. The bands Discharge[135] and The Varukers[136] are pioneers of the D-beat genre. Robbie Mackey of Pitchfork Media described D-beat as "hardcore drumming set against breakneck riffage and unintelligible howls about anarchy, working-stiffs-as-rats, and banding together to, you know, fight."[137]

The 1980s saw the development of post-hardcore, which took the hardcore style in a more complex and dynamic direction, with a focus on singing rather than screaming. The post-hardcore style first took shape in Chicago, with bands such as Big Black, The Effigies and Naked Raygun,[138] while later developed in Washington, DC within the community of bands on Ian MacKaye's Dischord Records with bands such as Fugazi, The Nation of Ulysses, and Jawbox.[139] The style has extended until the late 2000s.[139] The mid-80s Washington, D.C. post-hardcore scene would also see the birth of emo. Guy Picciotto formed Rites of Spring in 1984, breaking free of hardcore's self-imposed boundaries in favor of melodic guitars, varied rhythms, and deeply personal, impassioned lyrics dealing with nostalgia, romantic bitterness, and poetic desperation.[140] Other D.C. bands such as Gray Matter, Beefeater, Fire Party, Dag Nasty, also became connected to this movement.[141][142] The style was dubbed "emo", "emo-core",[143] or "post-harDCore"[144] (in reference to one of the names given to the Washington, D.C. hardcore scene[145]).

Often confused with crossover thrash and sometimes thrash metal, is thrashcore.[153] Thrashcore (also known as fastcore[154]) is a subgenre of hardcore punk that emerged in the early 1980s.[155] It is essentially sped-up hardcore punk, with bands often using blast beats.[154] Just as hardcore punk groups distinguished themselves from their punk rock predecessors by their greater intensity and aggression, thrashcore groups (often identified simply as "thrash") sought to play at breakneck tempos that would radicalize the innovations of hardcore. Early American thrashcore groups included Cryptic Slaughter (Santa Monica), D.R.I. (Houston), Septic Death (Boise) and Siege (Weymouth, Massachusetts). Thrashcore spun off into powerviolence, another raw and dissonant subgenre of hardcore punk.[153] Notable powerviolence bands include Man is the Bastard and Spazz.

Grindcore is an extreme genre of music that began the early–mid 1980s. Grindcore music relies on heavy metal instrumentation and eventually changed into a genre similar to death metal. Grindcore vocals, according to AllMusic, range "from high-pitched shrieks to low, throat-shredding growls and barks".[163] Grindcore also features blast beats,[164] According to Adam MacGregor of Dusted, "the blast-beat generally comprises a repeated, sixteenth-note figure played at a very fast tempo, and divided uniformly among the kick drum, snare and ride, crash, or hi-hat cymbal."[164] The band Napalm Death invented the grindcore genre; their debut album Scum was described by AllMusic as "perhaps the most representative example of" grindcore.[165]

In the mid-1980s, northern West Coast state bands such as Melvins, Flipper and Green River developed a sludgy, "aggressive sound that melded the slower tempos of heavy metal with the intensity of hardcore," creating an alternative rock subgenre known as grunge.[170] Grunge evolved from the local Seattle punk rock scene, and it was inspired by bands such as The Fartz, 10 Minute Warning and The Accüsed.[171] Grunge fuses elements of hardcore and heavy metal, although some bands performed with more emphasis on one or the other. Grunge's key guitar influences included Black Flag and The Melvins.[172] Black Flag's 1984 record My War, on which the band combined heavy metal with their traditional sound, made a strong impact in Seattle.[173]

^ ab"Archived copy"(PDF). Archived(PDF) from the original on 2013-11-02. Retrieved 2014-05-20.CS1 maint: Archived copy as title (link) Brockmeier, Siri C., “Not Just Boys’ Fun?”: The Gendered Experience of American Hardcore, MA Thesis in American Studies Department of Literature, Area Studies and European Languages ILOS (Universitet I Oslo, 2009) p. 12

^Thompson, William Forde (Aug 12, 2014). Music in the Social and Behavioral Sciences: An Encyclopedia. SAGE Publications. p. 500. ISBN9781452283029.

^"I just wanna be remembered for coming up with that f-ckin' D-beat in the first place! And inspiring all those f-ckin' great Discore bands around the world!" – Terry "Tez" Roberts, Glasper 2004, p. 175.

^Sanjiv Bhattacharya. "How Islamic punk went from fiction to reality." The Guardian, Thursday 4 August 2011. Available online at: "Archived copy". Archived from the original on 2016-12-21. Retrieved 2016-12-19.CS1 maint: Archived copy as title (link) Accessed on July 28, 2014.

^Bush, John (2002). "Limp Bizkit". All Music Guide to Rock. Hal Leonard Corporation. p. 656. ISBN087930653X. One of the most energetic groups in the fusion of metal, punk and hip-hop sometimes known as rapcore